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ITALY, 1400-1500

ITALY, 1400-1500. GARDNER CHAPTER 21-1 PP. 541-548. ITALY, 1400-1500. The blossoming of humanism Emphasis on education and expanding knowledge Individual potential Desire to excel Commitment to civic responsibility and moral duty

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ITALY, 1400-1500

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  1. ITALY, 1400-1500 GARDNER CHAPTER 21-1 PP. 541-548

  2. ITALY, 1400-1500 • The blossoming of humanism • Emphasis on education and expanding knowledge • Individual potential • Desire to excel • Commitment to civic responsibility and moral duty • Artistic genius + spread of humanism + economic prosperity = the Renaissance

  3. FLORENCE • Giovanni de Medici est. family fortune in early 15th century • Cosimo, his son, expands family dominance in finance and led to political power • Medici were avid humanists • Lorenzo the Magnificent (1449-1492) gathered about him a galaxy of artists and gifted men in all fields

  4. THE BRONZE DOORS OF THE BAPTISTERY • Filippo Brunelleschi, Sacrifice of Isaac, competition panel fro east doors of the baptistery, Florence, Italy, 1401-1402, gilded bronze, 1’9” x 1’5 ½ “ • Competition in 1401 to design the east doors of the Baptistery • Patronage as both civic imperative and a form of self-promotion • The esteem accorded to individual artists • Development of a new pictorial realism • Brunelleschi’s entry -> one dense group, great drama -> emotional, lunging Abraham -> frantic angel makes it just in time -> figures spill out over the borders of the quatrefoil

  5. BRUNELLESCHI AND GHIBERTI • The two finalists were Brunelleschi and Ghiberti -> used the same frames and same scene • Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for east doors of the baptistery, Florence, Italy, 1401-1402, gilded bronze, 1’9” x 1’5 ½” • Ghiberti emphasized grace and smoothness -> nude figure of Isaac -> acanthus scrolls on the altar he kneels on -> classical references • Spatial illusion • Technical superiority -> cast in only 2 pieces -> lighter and more cost effective

  6. OR SAN MICHELE, Florence

  7. OR SAN MICHELLE/NANI DI BANCO • NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, marble, figures 6’ high • Built for the guild of wood and stone carvers, of which Nanni was a member • Depicts four matyred patron saints of the guild • Wearing togas, heads influenced by portraits of Roman emperors • Saints seem to be discussing their fate; feet placed outside of arch, stepping into our space • Figures are independent of the niche in which they stand

  8. DONATELLO – SAINT MARK • DONATELLO, Saint Mark, Or San Michele, Florence, Italy, ca. 1411-1413, marble, 7’9” high • Commissioned for the guild of linen drapers • Contrapposto -> as the body moves, his garment moves with it -> the garment does not conceal, it accentuates movement • Stirring limbs, shifting, weight, mobile drapery -> suggests impending movement out of the niche

  9. DONATELLO – SAINT GEORGE • DONATELLO, Saint George, Or San Michele, Florence, Italy, ca. 1410-1415, marble, 6’10” high • Made for the Or San Michele niche of the armorers’ and swordmakers’ guild • The warrior saint stands defiantly, ready to spring from his niche to defend Florence -> face filled w/nervous energy

  10. DONATELLO – FEAST OF HEROD • DONATELLO, Feast of Herod, panel on the baptismal font of Sienna Cathedral, Sienna, Italy, 1423-1427, gilded bronze, 1’11 x 1’11” • New Testament scene -> kneeling executioner offers the head of John the Baptist to King Herod • The advent of rationalized perspective space -> two arched courtyards of diminishing size open the space of the action well into the distance

  11. RENAISSANCE PERSPECTIVE SYSTEMS • Renaissance fascination with perspective -> constructing a convincing illusion of space in two-dimensional imagery • Linear perspective allows artists to determine mathematically the relative size of rendered objects to correlate them with the visual recession into space • Linear perspective can be either one-point or two-point

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